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Death Cab for Cutie
Transatlanticism
(Barsuk)
The Postal Service
Give Up
(Sub Pop)
First Appeared at The Music Box,
March 2004, Volume 11, #3
Written by T.J. Simon
Seattle’s Death Cab For Cutie (DCFC) is a band often cited whenever the
sub-genre of "emo" is discussed. This is likely due to the searing, heartfelt,
and confessional lyrics delivered by the band’s hyper-intelligent leader Ben
Gibbard, rather than any musical similarity to other emo outfits such as
Dashboard Confessional or Jimmy Eat World. Indeed, 2003 was a busy year for
Gibbard, who released an indie-pop DCFC album titled Transatlanticism as
well as Give Up, an electronic pop, side-project collaboration with Jimmy
Tamborello recorded under the moniker of The Postal Service.
At various times on Transatlanticism, DCFC sounds like Weezer, The
Cure, or Coldplay. The entire effort features better-than-average pop
instrumentation supporting substantially superior lyrics. Like his
contemporaries Conor Oberst (Bright Eyes) and Ted Leo, Gibbard spends time
carefully selecting his words based on the radical songwriting theory that — get
a load of this — good lyrics actually matter. The album begins powerfully with
the anthemic The New Year, an up-tempo tune with smartness galore. Other
high points include the bouncy The Sound of Settling and the harder We
Looked Like Giants. The musical accompaniment varies from sparse piano on
Passenger Seat to blazing guitars on Tiny Vessels. There’s not a bad
song on the disc, and the lyric sheet alone provides evidence of a songwriter
who is bright beyond his name recognition.
When recording as The Postal Service, Gibbard collaborates with electronic
music producer Jimmy Tamborello, who also records under the name Dntel. In 2001,
they collaborated on a single track from Dntel’s album Life Is Full of
Possibilities, and that collaboration spawned The Postal Service’s Give
Up. As electronica goes, Give Up is accessible, easy-to-swallow stuff
that doesn’t make you feel like you’re at a rave-oriented dance party.
Tamborello’s keyboard, drum machine, and synth programming generally recalls the
style of William Orbit, who produced Madonna’s Ray of Light album.
Musically, it’s a spaced-out and soothing cocoon for Gibbard’s smooth, yet
prominent, voice.
Gibbard’s vocals have the same pitch and tone as Neil Tennant of the Pet Shop
Boys, though he delivers them without any of the camp and flamboyance. The
Postal Service wins largely due to the generous use of Jenny Lewis (of Rilo
Kiley) and Jen Wood who contribute background, harmony, and duet vocals on many
of the album’s tracks. Gibbard’s lyrics are once again sharp and compelling on
cuts like The District Sleeps Alone Tonight and Sleeping In. While
DCFC’s lyrics seem more confessional, The Postal Service is full of imagery
plucked from a vivid dream. The group’s best song is Nothing Better in
which Gibbard and Wood duke it out, boy-vs.-girl style over the circumstances
surrounding their failed relationship. The song brings to mind the
similarly-themed 1981 single Don’t You Want Me by The Human League.
Without question, Ben Gibbard is a voice worth hearing in indie music today,
and both DCFC and The Postal Service do a fine job of showcasing his stellar
songwriting ability. If the concept of syncopated drum beats, spiced with
electronic bleeps and bloops is appealing, give The Postal Service a try. If,
however, an organic approach sounds more intriguing, then Death Cab For Cutie is
the better option. Either way, they’re gems.
Transatlanticism - 
Give Up -
Transatlanticism is available from Amazon.com.
To order, Click Here!
For Canadian orders, please
Click Here!
For UK orders, please
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Give Up is available from Amazon.com.
To order, Click Here!
For Canadian orders, please
Click Here!
For UK orders, please
Click Here!
Ratings
1 Star: Pitiful
2 Stars: Listenable
3 Stars: Respectable
4 Stars: Excellent
5 Stars: Can't Live Without It!!
Copyright © 2003
The Music Box
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